Canadian, British and American classics

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of MUSIC

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2002-2003

Saturday, November 23, 2002, 8 p.m.
MacMillan Theatre

University of Toronto

® Faculty of Music

presents

Wind Ensemble

Jeffrey Reynolds, conductor

in
Canadian, British and American Classics

William Schuman George Washington Bridge:
(1910-1992) An Impression for Band
David Bedford Sea and Sky and Golden Hill
(b. 1937)
Warren Benson The Leaves Are Falling
(b. 1924)

- INTERMISSION -
Godfrey Ridout Tafelmusik

(1928-1984)

Derek Healey One Midsummer’s Morning

(b. 1936) 1. Among the new Mown Hay
2. The Banks of Sweet Primroses
3. High Germany
4. Strawberry Fair
5. Bushes and Briars
6. Shropshire Rounds

The photographing, sound recording, or videotaping of this performance without the written
permission of the Faculty of Music is strictly prohibited. .

We kindly request that you switch off your cellular phones, pagers, watch beepers, and any other
electronic devices that could emit a potentially unwelcome sound.

Programme Notes

George Washington Bridge:
An Impression for Band
WILLIAM SCHUMAN
(1910-1992)

William Schuman completed this work in
1950. It was first performed by the
Michigan All-State Band at Interlochen in
1951. Schuman was an influential Ameri-
can composer and educator, composing for
virtually all genres, including orchestra,
chorus and symphonic band, as well as
chamber and solo works. He was the first
recipient of the Pulitzer Prize for music, in
1943. Schuman wrote of this piece: “There
are few days in the year when I do not see
George Washington Bridge. ..Ever since
my student days, when I watched the
progress of its construction, this bridge has
had for me an almost human
personality...It is difficult to imagine a
more gracious welcome or dramatic entry
to the great metropolis.” The work is
predominately bi-tonal and reflects the
architecture and scope of the bridge with its
large sonic arsenal and blocks of sound. It
was included in the first recording by the
Eastman Wind Ensemble in May of 1953.

Sea and Sky and Golden Hill
DAVID BEDFORD
(b.1937)

Sea and Sky and Golden Hill was com-
posed in 1985. David Bedford has had a
varied career, including studies at the Royal
Academy of Music and membership in the
rock group “The Whole World” in the mid-
sixties. Bedford focuses on the chamber
groups within the ensemble, creating a
fresh, distinctive sound for the wind
ensemble. The composer writes: “The title
comes from a poem by Kenneth Patchen
the imagery of which seemed to fit the
sound of the music very closely.” Nine
sections comprise the formal structure with
repeated and contrasting motifs juxtaposed
with each other. The distinctive timbre of 4

tuned wine glasses, played by the percus-
sion section, lends a peaceful contrast to
more complex sections of the piece. It
commissioned by the Avon Schools
Symphonic Wind Band and was first
performed under the composer’s direction
in 1985 at the Conference of the British
Association of Symphonic Bands and Wind
Ensembles.

The Leaves are Falling
WARREN BENSON
(b.1924)

The Leaves Are Falling, described by
Donald Hunsberger as “one of the wind
band’s most contemplative, yet elegant,
statements,” was completed in January,
1964. The work was begun on November
22, 1963, the day that President John F.
Kennedy was assassinated in Dallas, Texas.
Thirty-nine years ago millions of people
watched their televisions and listened to
their radios grieving the loss of a man and
with him an era of optimism and energy.
Warren Benson was so stricken by the
event that he immediately began work on a
commission that he had been having
difficulty starting. The result is an
evocative, stark etude that expresses
profound human feeling. The chorale “E
Feste Burg,” appearing in a truncated
polyrhythmic setting, is a resonant call to a
renewal of hope. Benson chose the title
from a poem by Rainer Maria Rilke called
“Herbst” (Autumn) which appears here in
its entirety.

Autumn

The leaves are falling, falling as from
way off,

as though far gardens withered in the
skies;

they are falling with denying gestures.

And in the nights the heavy earth is
falling
from all the stars down into loneliness.

We are all falling. This hand falls.
And look at others: it is in them all.

for One Midsummer’s Morning, op. 82
were provided by the composer:

And yet there is one who holds this

falling
endlessly gently in his hands.

Tafelmusik
GODFREY RIDOUT
(1928-1984)

Godfrey Ridout was born in Toronto in
1918. He studied composition at the
Toronto Conservatory of Music (now the
Royal Conservatory) with Healy Willan.
He later taught at the TCM and at the
Faculty of Music, University of Toronto,
and was an important figure in Canadian
music until his death in 1984. His output
consisted of orchestral music (Ballade for
Viola and Strings, and the full-length
dramatic symphony Esther), and many
radio-drama scores for the CBC and film
scores for the National Film Board. His
orchestral work Fall Fair, is one of the
most frequently performed pieces in
concert halls across the country.

Tafelmusik was commissioned by the
Faculty of Music Alumni Association in
1976. Scored for pairs of winds, with low
brass quartet, the work’s 2 movements
contrast in mood, with a Blues and an up-
tempo Finale.

One Midsummer’s Morning
DEREK HEALEY
(b.1936)

Derek Healey was born in Wargrave,
England in 1936 and studied at the Royal
College of Music with Herbert Howells,
and in Italy with Gofredo Petrassi. His
works have been played by over a dozen
orchestras, and some 45 works have been
published. He has taught at the universities
of Victoria, Toronto and Guelph in Canada,
at the University of Oregon at Eugene,
Oregon, and at the RAF School of Music in
Uxbridge, England. The following notes

One Midsummer’s Morning was inspired
by Percy Grainger’s A Lincolnshire Posy and
the recordings folk singers. Traditional-style
harmony, when used, has been influenced by
Shape-Note Hymns and the singing of the
Copper Family; in contrast to traditional tech-
niques, I have introduced late 20" Century
devices not normally found in traditional folk
arrangements.

The opening movement, Among the new
Mown Hay, is based on a jovial Saxon-style
melody from Kent, and like the other move-
ments, uses the linked variation form fa-
voured by Grainger. This is followed by The
Banks of Sweet Primroses from Lincolnshire
which commences with a “dawn chorus” ef-
fect; and “off-stage” piccolo sounds a song-
thrush’s song throughout.

The most radical section follows: High
Germany, consisting of four variations with
ritornelli trumpet fanfares. The baritone saxo-
phone, in its highest register, plays the melody
throughout, against which is superimposed
the same melody played in different time-ra-
tios and keys. A complex climax occurs in
the last variation which suddenly dissolves
into the opening pianissimo fanfares.

Strawberry Fair is decidedly light-
hearted, thereby acting as a contrast to the
seriousness of the previous setting. The fifth
movement which follows is built on a melody
of great lyrical intensity, Bushes and Briars
in which the flute’s free obbligato line acts
as a counter-subject to the melody. The fi-
nale is based on Shropshire Rounds — an in-
strumental 17" century hornpipe from the
north of England. This is very active, giving
each player something to set their teeth into.

The work was completed in July 1997
and was premiered in spring 2000 by the
Wilfrid Laurier Wind Ensemble, Ontario,
Canada, directed by Michael Purves-Smith,
and received its UK premiere a month later
by the RAF Central Band, directed by Rob
Wiffen. The work is dedicated to the memory
of my parents.

-

Flute

Sally Caryl, piccolo
Rachel Churchill
Tristan Durie

Amy Lin, piccolo
Hannah Rahimi

Oboe
Christina Chen
Lissa Mangano

English Horn
Christina Chen

Clarinet

Deena Gotfrit

Jasmine Hall

Sandra Kremer

Patrick McGraw, alto &
contra

Kimberley Parsons

Julianne Scott

Robert Tite, alto

Mai Yoshioka

Carli Sussman, bass

Bassoon
Sean Gates
Rebecca Sajo

UNIVERSITY OF TORONTO WIND ENSEMBLE
Jeffrey Reynolds, Conductor

Saxophone
Mark Laver, alto

Patrick McGraw, baritone

Trent Rescheny, tenor
Rebecca Simpson, alto

Trumpet

Steve Abra
Stephanie Crabb
Lori Dyer
Shauna Garelick
Keily Griffen
Colin Medeiros

French Horn
Youlian Alexandrov
Stephanie Braet
Christina Hough
Janette Struthers
Julius Shum

Trombone

Sean DeGroote
David Moulton
Adam More, bass

Euphonium
Kyla Jemison

Tuba
Courtney Lambert
Robert Teehan

Percussion

Jamie Drake

Antti Ohenaja
Yente Kerr
Ainsley McNeaney
Steve Sajkowsky
Tricia Sautner

Piano
Chris Bagan

Contrabass
Brian Liberty

Fred Perruzza, Director of
Operations, MacMillan
Theatre

George Milenov, Techni-
cal Assistant

Biography

Jeffrey Reynolds has taught at the Faculty
of Music since 1982. Prior to that he held
positions as trumpeter with several
orchestras, including the Victoria Sym-
phony, the Orchestra of the Royal Winni-
peg Ballet and the Stratford Festival
Orchestra. He still works as a freelance
performer in both the classical and
commercial fields, appearing with the
Hamilton Philharmonic, Kitchener-
Waterloo Symphony, Canadian Opera
Company and the Hannaford Street Silver
Band, to name a few. Currently he is the
Assistant Coordinator of the Performance

Division, coaching chamber music and
lecturing in music education and jazz
history as well as maintaining a trumpet
studio. He received his M.M. in Trumpet
Performance from the University of
Victoria and his Ph.D in the Philosophy of
Music Education from the University of
Toronto. Dr. Reynolds adjudicates at
music festivals across the country and
contributes articles and reviews to several
journals. He is also the trumpet instructor
and Assistant Music Director of the
National Music Camp of Canada.

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FACULTY
of MUSIC

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UNIVERSITY
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Faculty of Music
Presents

Concert Band

Denise Grant, conductor
David Moulton, conductor

IVES Country Band March
BACH Fervent is my Longing, Fugue in G minor
Also works by VAUGHAN WILLIAMS, BENSON

Saturday, November 30, 2002
8 pm. MacMillan Theatre

Where Great
Music Meets
Great Minds

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